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Dents en aluminium (AL) ou en cuivre (CU).

Back to index of music pagesby Donald Sauter. Opera records and opera books in my collection Introduction to my Opera Record CollectionMy Opera Record CollectionOperas, Operettas, etc.Non-opera Vocal WorksOpera Highlight SetsBy ComposerBy ArtistMixed Bag - records with various operas, composers and artistsNon-opera Boxed Sets - with opera tracksFlotsam and Jetsam - miscellaneous records with opera tracks78 rpm records - opera and classicalDiscussion of my Master Index to my Opera Reference BooksList of my Opera Reference BooksMaster Index to my Opera Reference Books

Introduction to my Opera Record Collection It doesn't seem that there would be much call for acatalog of my opera record collection. Still, you can't anticipatethe all the reasons for every web search till the end of time, and theinformation here might answer somebody's question, such as whethera certain opera artist ever recorded a certainopera, or if various artists ever recorded together. Also, someone wanting to index his own collection of recordings -not necessarily opera - may find the simple format useful. The formatgoes hand-in-hand with a program I wrote that extracts not only theline containing the search string, but supplies a preceding line whichidentifies the album on which the performance in question appears. (Seethe example farther down where I search for occurrences ofRimsky-Korsakov in my collection.) Anyhow, by putting my catalog up on the web, I'll never "leavehome without it." I caught the opera bug probably around 1998 or so. It came aboutby tracking down the original operatic versions of various piecesof which I had guitar transcriptions. I remember buying copies ofcomplete performances of Cavalleria Rusticana and DieZauberflo"te at a record convention - and I was knocked out byboth of them. In this catalog I don't make a distinction between opera, operetta andoratorios that are filled with action. I do separate out such extendedvocal works in my collection as "non-action" oratorios, masses, requiems, songcycles, broadway shows, and works with narrator. Still, many of these decisionsare personal calls - don't depend on my catalog for the final ruling onwhat is and what isn't an opera. For example, I am still verycloudy on the difference between American operetta and the laterBroadway-type musical shows. The basic format for a line in the catalog is: Opera Title, Composer: Singer1 Singer2... Conductor Two spaces separate the conductor from the last singer. If thereis no singer, I explicitly show "c." to indicate conductor. If thepiece is not sung on the record, there are two possibilities. It may be aninstrumental arrangement of a piece which is sung in the opera. Inthat case I put OWOW, meaning "opera without words". Or else the piece trulywas an instrumental piece in the opera, in which case I may put what I know -whether it's an overture, intermezzo, ballet, dance, etc. I catalog the opera only, not the specific aria a singer may sing ona recital album, for example. Catalogingarias would involve astronomically more work, and give rise to so manyproblems that the overall usefulness of the catalog would probablydiminish. I use Opera - a research and information guide,by Guy A. Marco, as my source for correct and consistent opera naming. The catalog is divided into sections which correspond to how myrecord collection is organized. There's a section for albums filedby the OPERA itself, whether complete, a highlights album, or anopera-without-words version. Following this is a section for non-operamusical works which have VOCAL parts. There's a section for albums - oftenboxed sets - which contain HIGHLIGHTS OF VARIOUS OPERAS, usually,but not necessarily, by various composers. There's a sectionfor albums of opera music by a single COMPOSER. There's a sectionfor albums of opera music by a single ARTIST - singer, conductor,or, in oddball cases, instrumentalist. There's a section of MIXEDBAG albums, containing various operas, composers and artists.There's a section for BOXED SETS which are not devoted to opera, buthave miscellaneous opera cuts. Likewise, there's a section Icall FLOTSAM AND JETSAM, which contains single- or multi-disc albumswhich are not devoted to opera, but have miscellaneous opera cuts. Other abbreviations and words requiring explanation include: OWOW = opera without words; that is, instrumental version of opera musicwhich has words. The name following OWOW is the conductor. (hl) = highlights; that is, not the complete opera. (cd) = compact disc format (cassette) = cassette tape format 10" = 10-inch phonodisc 7" = 7-inch phonodisc Non-opera = music not from an opera. I cataloged the composers, butnot titles, of non-opera music appearing on these albums, figuring itcould come in handy. If not otherwise specified, the format is 12-inch long-playingphonorecord. Indentation of a line in the catalog indicates that theperformance appears on an album whose title is given above it. Thealbum title line is recognized by not being indented. As an example, if I enter "rimsky" into my program, here are afew sample hits from the many it would return:Search string = rimsky*** Complete Operas, Opera Highlights and Opera Without Words ***Le Coq d'Or, Rimsky-Korsakov: OWOW RignoldLe Coq d'Or, Rimsky-Korsakov: Korolyov Yelnikov APolyakov Ktitorov Pishchayev Kadinskaya NPolyakov Kleshchova c. Kovalyov Akulov Sadko, Rimsky-Korsakov: Avdeyeva Svetlanov Sadko, Rimsky-Korsakov: Mazurok Naidenov The Invisible City of Kitezh, Rimsky-Korsakov: Milashkina Ermler Snegurochka (The Snow Maiden), Rimsky-Korsakov: Arkhipova Melik-Pashayev*** Opera Highlight Sets (maybe only 1 composer) ****** By artist ***Bjoerling, Jussi: Bjo"rling 1911-1960 (cd) Sadko, Rimsky-Korsakov: Bjoerling GrevilliusKarajan, Herbert von: Opera Intermezzi Khovanshchina, Mussorgsky Rimsky-Korsakov: intermezzo c. KarajanVishnevskaya, Galina: Arias The Tsar's Bride, Rimsky-Korsakov: Vishnevskaya*** By composer ***Offenbach, Jacques: Gaite Pariesienne, Columbia Symphony Orchestra (Columbia ML4233) Skazka o Tsare Sultane, Rimsky-Korsakov: c. Kurtz*** Mixed bag (all opera) ***BALLET Music from the Operas, by the Philharmonia Orchestra Khovanshchina, Mussorgsky Rimsky-Korsakov: c. Karajan*** Box sets, mostly non-opera ***The GOLDEN Fifty of Popular Concert Music; side 8 Skazka o Tsare Saltane, Rimsky-Korsakov:The LONGINES Symphonette: Treasury of the World's Most Honored Musical Favorites; record 11 Sadko, Rimsky-Korsakov: OWOW Piastro*** Flotsam and jetsam on non-opera records ***120 Music Masterpieces, volume 2; side 3 Sadko, Rimsky-Korsakov: OWOW Non-opera Rimsky-Korsakov Tchaikovsky JStraussI Smetana Brahms Mendelssohn Ravel Beethoven SousaA CHILD'S Introduction to the Great Composers (Golden Record) Snegurochka (The Snow Maiden), Rimsky-Korsakov: dance c. MillerHOOKED on Classics, by the Royal Philharmonic Orchestra; track 1 Skazka o Tsare Saltane, Rimsky-Korsakov: c. Clark Note that in the OPERA section, there is a complete Le Coq d'Orwhich evidently had space left over and was filled with arias fromother Rimsky-Korsakov operas. Also, that performance of Le Coq d'Orinvolved two conductors. In the ARTIST section, the Vishnevskaya album did not identify the conductor. In the COMPOSER section, there is some Rimsky-Korsakov opera music includedon an album devoted mainly to Offenbach, titled "Gaite Parisienne". In the BOXED SET section, the album "The Golden Fifty of Popular ConcertMusic" did not identify performers. By the way, when you seeSkazka o Tsare Sultane on classical compilation albums, you canbet it refers to "The Flight of the Bumble Bee". With Sadko, itwould be "The Song of India". In the FLOTSAM AND JETSAM section, you can see that on"120 Music Masterpieces", volume 2, side 3, Rimsky-Korsakov isrepresented with an opera composition and a "non-opera" composition,in this case an excerpt from "Scheherazade".

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